All right, folks: we are five weeks into the blog and thirty-eight minutes into the movie, and we’re finally getting out of Smallville. We’ll spend next week in the Fortress of Solitude, and then we’re heading for Metropolis, I promise.
The structure of this movie can be fairly challenging, especially for the modern viewer, because it takes so long to get to what people expect a Superman movie to be about. We first get a glimpse of Christopher Reeve as Superman at minute 47, and even then it’s only for one shot. We don’t really get the full “Clark Kent changes to Superman and does something heroic” until 68 minutes into the movie, which is a long time to wait, if you’re not prepared for it.
The simple answer for why there’s such a long prologue is that that’s how the story is supposed to go — you have to understand that the character came from Krypton, and grew up on Earth, to know who he is and what he’s about. But in the first issue of Action Comics, that was all taken care of in the first few panels; by the top of page 2, Superman was haring across the countryside, dropping off bound-and-gagged ladies on people’s front lawns.
It’s not like the filmmakers didn’t have a choice. You could easily imagine a movie that begins with a big spectacular Superman rescue, and then the backstory is handled in a five-minute flashback. As far as the plot is concerned, this three-part prologue is just dead weight; once we reach Metropolis, nothing happens that requires the audience to know that Clark wasn’t allowed to play football when he was in high school. You could watch the entire movie without knowing about the Phantom Zone or the Fortress of Solitude — both of those pay off when you watch the sequel, but you can go from 47:00 to 2:23:00 without them, and you’d hardly miss them.
So if they could have condensed this backstory down — making the movie shorter, cheaper and faster-paced — then why didn’t they?